FEATURE FILM, 86mins
MY PART - Writer, Director, Producer
Matilda, a young woman on the edge of her youth is questioning the purpose of life. A weekend full of different encounters with family, friends and strangers helping her to find some answers.
"One would love to see a sequel à la Linklater in ten years, to see what has become of the young people and their dreams." (Falter, Michael Omasta)
WATCH THE TRAILER HERE
ESSAY FILM
The film started with a simple question: Why do we understand so much of the world through separation?
Between ourselves and others. Between humans and nature. Between subjects and objects. Between those who decide and those who are represented.
I became interested in separation not only as something we experience, but as a structure. A way of thinking that shapes how we produce knowledge, tell stories, understand ourselves and organize collective life.
The film draws on Denise Ferreira da Silva’s idea of difference without separability, which questions the assumption that difference requires division. Ursula K. Le Guin’s Carrier Bag Theory of Fiction offers a parallel challenge to the stories we tell: instead of the hero, the conflict and the victory, she proposes gathering, carrying and continuing. Karen Barad’s work extends this question to knowledge itself — challenging the idea that we can stand outside the world and observe it from a distance.
What interested me was how these ideas begin to connect. Separation becomes a way of knowing, a way of telling stories, a way of imagining the individual — and eventually a way of organizing responsibility and political power.
The film moves between personal experience, cinema, science and politics in search of what changes when these boundaries become less certain.
If there is no outside, storytelling is no longer simply a way of describing the world. It becomes part of the relationships through which that world is made.
There Is No Outside does not try to replace one worldview with another. It asks what becomes possible when difference no longer has to mean separation.
ESSAY FILM
The film started with a question I kept encountering: What are you doing to make a difference?
Recycle. Vote. Consume differently. Care more.
I became interested in the gap between the scale of the crises we face and the actions we are given to respond to them. Climate change, inequality and political power are structural problems, yet responsibility for them repeatedly seems to end up with the individual.
Displaced follows this movement through five forms of displacement: scale, responsibility, politics, art and hope. It asks what happens when problems are moved to places where they cannot be solved - while power remains somewhere else.
Michael Richardson’s writing on the crisis of scale and Timothy Morton’s concept of hyperobjects became a way of thinking about problems that exceed individual perception and action. David Van Reybrouck and Christian Meier provided a historical perspective on democracy, political decision-making and the concentration of power. T. J. Demos and Lauren Berlant became central to my questioning of political art, affect and hope — and of what happens when feeling or representation begins to stand in for political agency.
What interested me was the connection between these different displacements: a crisis becomes an image, responsibility becomes personal, politics becomes representation, art becomes a substitute for action, and hope becomes an expectation that existing structures will eventually correct themselves.
The film eventually turns this question onto itself. Film can create attention, emotion and visibility. But it cannot distribute political power.
Displaced does not try to resolve that contradiction. It tries to make the displacement visible - and to ask what political art can do once it stops confusing expression with shared power.
MY PART - Director
Even established sports brands rely on practices that raise serious concerns.
Together with Four Paws International, we worked on a global campaign against mulesing - a procedure used in Merino wool production.
I co-directed the project with Philipp Moosbrugger.
MY PART - Director, Cinematographer
I worked on this project as a filmmaker, accompanying a citizens’ assembly over time.
What interested me was not the idea of democracy itself, but how it plays out in practice: How people speak, listen, hesitate, or change their position.
The setting created a different kind of interaction than what we usually see in institutional politics. It made certain forms of participation visible, while leaving others unresolved.
My focus was to stay with these moments - without framing them as a solution, and without separating them from the broader context they exist in.
MY PART - Director Of Photography
Two days of fun shooting our showreel in Berlin. Is a five-minute short film even a showreel? Can we even call it a short film? Whatever.
MY PART - Director
The series looks at everyday activities that are not usually associated with environmental impact — tattoos, drugs, sex, live music.
It follows how these practices connect to larger systems of production and consumption, without reducing them to simple judgments.
I worked on the series over two seasons with different hosts, including Christl Clear, Bruman Rockner, Yugo, and Sandro Nicolussi.
MY PART - Director
Our newest music video collaboration with the talented Irish group, Picture This. The co-direction by Valentin Wanker added an extra layer of creativity to the project and it was wonderful to reunite with Jakob Grasböck after a long period of not working together.
MY PART - Director
Another music video collaboration with the talented artist, Esther Graf. While this was our first collaboration, Geldautomat was our second. The project was a welcome addition during a slower winter season, and it was a joy to co-direct it with Christian Gstöttner.
WATCH IT HERE
MY PART - Director
One of Moglee's first songs was the focus of our first collaboration with the gifted artist. Co-directing with my friend Philipp Moosbrugger was a pleasure, as it always is.
WATCH IT HERE
